Highlights from the Pompidou pop-up in Málaga
Some high-profile works have made it to Málaga to inaugurate the Pompidou's latest venue
Some high-profile works have made it to Málaga to inaugurate the Pompidou's latest venue
Is the restoration of Chartres Cathedral a tragedy, or a worthy improvement?
Should the city even close a few museums instead of designing more?
Students are asking legitimate questions about the future of art schools: UAL should listen
Max Hollein discusses the challenges and rewards of running not one, but three, institutions
IS demolishes the ancient city of Nimrud; Günter Grass dies aged 87; art trumps privacy in US court ruling; and don't mention the Elgin Marbles
What is the relationship between art and the city?
A look at how the genre of the grotesque has unfolded from the Renaissance to the present day
News and comment from our April issue: Thomas Marks and John Curtis on the cultural desecration of Iraq; Don Quixote in NYC; plus, should the Kunstmuseum Bern have accepted the Gurlitt bequest?
Tate Britain director and RA curator head for Europe; LACMA teams up with Hyundai; the UK's fight to keep an ancient Egyptian statue continues; plus our favourite April Fools
Matthias Frehner and David Lewis discuss the problematic bequest
It is satisfying to see Benglis finally given proper recognition in the UK
National Gallery gets a gift; MoMA under criticism; stolen El Greco work restituted; and a last ditch attempt to save a Brutalist estate in east London
Key speakers debated the issue at a Courtauld event this week
Tom Jeffreys reports from Helsinki on Amos Anderson's plans for a new gallery; Kiasma's reopening and exhibitions; and Päivi Takala's paintings of painting
A look at the satellite events staged in and around Maastricht
Tom Jeffreys on the changing nature of Finland’s art scene
Sheila Girling dies aged 90; Centre Pompidou plans pop-ups; Musée Maillol closes unexpectedly, and the Whitworth reopens...
Previews from the new February issue: Is the golden age of art schools over? What can be done to protect cultural property in war zones? Does art still have a sense of mystery?
As a survey of Lynda Benglis’s work opens at the Hepworth Wakefield, the artist talks to Imelda Barnard about her 40-year career